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## Action

### PDF
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## Media

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### Audio Subtitles

### Floorplan

### Image
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### Subtitle
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### Title
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## Popup

### Body
htmlText_39EF135E_44D7_A423_41CD_DAB54532CF18.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>TROPHIES</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">MYFANWY MACLEOD</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>Trophies</I></SPAN><SPAN STYLE="font-size:20px;"> draws from the Burnaby Art Gallery’s history as a former fraternity house – in 1965, 21 young men occupied the house with the purpose of establishing SFU’s first frat, Delta Upsilon. Examining the connections between ancient Greek rites and sculpture and fraternity culture's visual and performative codes, Myfanwy MacLeod explores frat life's hyper-masculine, ritualistic, and exclusionary behaviours through both classical and contemporary portrayals, proposing alternative rituals and relations. Leaning into the idea of the “trophy” as a marker of achievement, the works offer nuanced interpretations of success, failure, and recognition. Using various forms of humour to challenge assumptions about gender and value, she brings a feminist critique to notions of mastery and power. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Through symbolic contrasts of animal figures, men, and women, MacLeod grapples with notions of innocence and corruption, the refined and the vulgar, good and evil. MacLeod’s painted, soaked, and 3-dimensional stains reference not only the permeable and fallible nature of the physical body, but the more metaphorical stains that we are marked by as contemporary subjects―the so-called “moral injuries” that burden daily life as we carry on our work and other daily tasks. MacLeod speaks to this moment of polycrisis and deep power imbalance with ringing clarity.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Of Welsh and Scottish descent, Myfanwy MacLeod (b. 1961) lives and works in Vancouver. Her artistic practice has resulted in a substantial body of nationally and internationally recognized work, which is held in the collections of the National Gallery of Canada, Vancouver Art Gallery, City of Burnaby Permanent Art Collection, and numerous private collections. Her work in public art is significant, with works in Burnaby such as </SPAN><SPAN STYLE="font-size:20px;"><I>Cordials</I></SPAN><SPAN STYLE="font-size:20px;"> (2018) and </SPAN><SPAN STYLE="font-size:20px;"><I>Cosmos: I am as Constant as the Northern Star</I></SPAN><SPAN STYLE="font-size:20px;"> (2022), both in the Metrotown neighbourhood, and monumental works such as </SPAN><SPAN STYLE="font-size:20px;"><I>The Birds</I></SPAN><SPAN STYLE="font-size:20px;"> (2010, Vancouver), </SPAN><SPAN STYLE="font-size:20px;"><I>Primrose</I></SPAN><SPAN STYLE="font-size:20px;"> (2019, Toronto), and </SPAN><SPAN STYLE="font-size:20px;"><I>The Song of the Dodo</I></SPAN><SPAN STYLE="font-size:20px;"> (2023, Montreal). Known for works that examine public and private spaces and their relationship to gender, class, and the marginalised, MacLeod rethinks hierarchies and intersections between "high" and "low" art forms.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Curated by Jennifer Cane</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Myfanwy MacLeod acknowledges the support of the La Napoule Art Foundation in the production of this exhibition. The Burnaby Art Gallery gratefully acknowledges the generous funding of the City of Burnaby and the British Columbia Arts Council. </SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_E0D595FE_FC43_FEE9_41B5_AEC040ED12B3.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>TROPHIES</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">MYFANWY MACLEOD</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>Trophies</I></SPAN><SPAN STYLE="font-size:20px;"> draws from the Burnaby Art Gallery’s history as a former fraternity house – in 1965, 21 young men occupied the house with the purpose of establishing SFU’s first frat, Delta Upsilon. Examining the connections between ancient Greek rites and sculpture and fraternity culture's visual and performative codes, Myfanwy MacLeod explores frat life's hyper-masculine, ritualistic, and exclusionary behaviours through both classical and contemporary portrayals, proposing alternative rituals and relations. Leaning into the idea of the “trophy” as a marker of achievement, the works offer nuanced interpretations of success, failure, and recognition. Using various forms of humour to challenge assumptions about gender and value, she brings a feminist critique to notions of mastery and power. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Through symbolic contrasts of animal figures, men, and women, MacLeod grapples with notions of innocence and corruption, the refined and the vulgar, good and evil. MacLeod’s painted, soaked, and 3-dimensional stains reference not only the permeable and fallible nature of the physical body, but the more metaphorical stains that we are marked by as contemporary subjects―the so-called “moral injuries” that burden daily life as we carry on our work and other daily tasks. MacLeod speaks to this moment of polycrisis and deep power imbalance with ringing clarity.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Of Welsh and Scottish descent, Myfanwy MacLeod (b. 1961) lives and works in Vancouver. Her artistic practice has resulted in a substantial body of nationally and internationally recognized work, which is held in the collections of the National Gallery of Canada, Vancouver Art Gallery, City of Burnaby Permanent Art Collection, and numerous private collections. Her work in public art is significant, with works in Burnaby such as </SPAN><SPAN STYLE="font-size:20px;"><I>Cordials</I></SPAN><SPAN STYLE="font-size:20px;"> (2018) and </SPAN><SPAN STYLE="font-size:20px;"><I>Cosmos: I am as Constant as the Northern Star</I></SPAN><SPAN STYLE="font-size:20px;"> (2022), both in the Metrotown neighbourhood, and monumental works such as </SPAN><SPAN STYLE="font-size:20px;"><I>The Birds</I></SPAN><SPAN STYLE="font-size:20px;"> (2010, Vancouver), </SPAN><SPAN STYLE="font-size:20px;"><I>Primrose</I></SPAN><SPAN STYLE="font-size:20px;"> (2019, Toronto), and </SPAN><SPAN STYLE="font-size:20px;"><I>The Song of the Dodo</I></SPAN><SPAN STYLE="font-size:20px;"> (2023, Montreal). Known for works that examine public and private spaces and their relationship to gender, class, and the marginalised, MacLeod rethinks hierarchies and intersections between "high" and "low" art forms.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Curated by Jennifer Cane</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Myfanwy MacLeod acknowledges the support of the La Napoule Art Foundation in the production of this exhibition. The Burnaby Art Gallery gratefully acknowledges the generous funding of the City of Burnaby and the British Columbia Arts Council. </SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_E0E2BCB1_FC40_AD7B_41E1_F9C36B9AD69E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>TROPHIES</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">MYFANWY MACLEOD</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;"><I>Trophies</I></SPAN><SPAN STYLE="font-size:20px;"> draws from the Burnaby Art Gallery’s history as a former fraternity house – in 1965, 21 young men occupied the house with the purpose of establishing SFU’s first frat, Delta Upsilon. Examining the connections between ancient Greek rites and sculpture and fraternity culture's visual and performative codes, Myfanwy MacLeod explores frat life's hyper-masculine, ritualistic, and exclusionary behaviours through both classical and contemporary portrayals, proposing alternative rituals and relations. Leaning into the idea of the “trophy” as a marker of achievement, the works offer nuanced interpretations of success, failure, and recognition. Using various forms of humour to challenge assumptions about gender and value, she brings a feminist critique to notions of mastery and power. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Through symbolic contrasts of animal figures, men, and women, MacLeod grapples with notions of innocence and corruption, the refined and the vulgar, good and evil. MacLeod’s painted, soaked, and 3-dimensional stains reference not only the permeable and fallible nature of the physical body, but the more metaphorical stains that we are marked by as contemporary subjects―the so-called “moral injuries” that burden daily life as we carry on our work and other daily tasks. MacLeod speaks to this moment of polycrisis and deep power imbalance with ringing clarity.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Of Welsh and Scottish descent, Myfanwy MacLeod (b. 1961) lives and works in Vancouver. Her artistic practice has resulted in a substantial body of nationally and internationally recognized work, which is held in the collections of the National Gallery of Canada, Vancouver Art Gallery, City of Burnaby Permanent Art Collection, and numerous private collections. Her work in public art is significant, with works in Burnaby such as </SPAN><SPAN STYLE="font-size:20px;"><I>Cordials</I></SPAN><SPAN STYLE="font-size:20px;"> (2018) and </SPAN><SPAN STYLE="font-size:20px;"><I>Cosmos: I am as Constant as the Northern Star</I></SPAN><SPAN STYLE="font-size:20px;"> (2022), both in the Metrotown neighbourhood, and monumental works such as </SPAN><SPAN STYLE="font-size:20px;"><I>The Birds</I></SPAN><SPAN STYLE="font-size:20px;"> (2010, Vancouver), </SPAN><SPAN STYLE="font-size:20px;"><I>Primrose</I></SPAN><SPAN STYLE="font-size:20px;"> (2019, Toronto), and </SPAN><SPAN STYLE="font-size:20px;"><I>The Song of the Dodo</I></SPAN><SPAN STYLE="font-size:20px;"> (2023, Montreal). Known for works that examine public and private spaces and their relationship to gender, class, and the marginalised, MacLeod rethinks hierarchies and intersections between "high" and "low" art forms.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Curated by Jennifer Cane</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:20px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:20px;">Myfanwy MacLeod acknowledges the support of the La Napoule Art Foundation in the production of this exhibition. The Burnaby Art Gallery gratefully acknowledges the generous funding of the City of Burnaby and the British Columbia Arts Council. </SPAN></SPAN></DIV></BODY></HTML></div>

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